Name: Le nozze di Figaro
Start: 2015-04-11T00:00:00.000Z
End: 2015-04-22T00:00:00.000Z
Location: Theater an der Wien

Admin

Organization

Певец

Баритон

Stéphane Degout

Граф Альмавива

Сопрано

Anett Fritsch

Графиня

Emőke Baráth

Сюзанна

Бас

Alex Esposito

Фигаро

Меццо-сопрано

Ingeborg Gillebo

Керубино

Peter Kálmán

Бартоло

Тенор

Sunnyboy Dladla

Дон Курцио

Дон Базилио

Gan-ya Ben-gur Akselrod

Барбарина

Helene Schneiderman

Марцелина

Zoltán Nagy

Антонио

Дирижер

Marc Minkowski

Режиссер-постановщик

Felix Breisach

Художник по костюмам

Doris Maria Aigner

Художник-постановщик

Jens Kilian

Libretto

Лоренцо да Понте

Художник по свету

Alessandro Carletti

Драматург

Konrad Kuhn

MusikTheater an der Wien

Orchestra

Les Musiciens du Louvre

итальянский

Le nozze di Figaro -  (Свадьба Фигаро)

Вена

Австрия

Theater an der Wien

Свадьба Фигаро

немецкий

Одобрено

Mozart knew Paisiello's barberswell, the opera had been shown very successfully in Vienna in 1783, and the two composers had met the following year. When the second piece about this bustling barber came out in Paris, with great success and scandal, the idea of ​​emulating Paisiello's success on the basis of the new Beaumarchais piece was obvious. Mozart and Da Ponte, however, had to considerably defuse the politically explosive proposal in order to be able to get permission to perform their opera project at the Vienna Court Opera. In the libretto, Da Ponte mainly worked out the difficult emotional relationships between the characters and thus provided Mozart's compositional art with a congenial model: his music deepens the characters to an extent that

A few years have passed since the events in Seville surrounding Rosina's marriage to the Count, and the love between the Count's couple has now cooled somewhat. The count is looking for new objects worthy of his favor, and the countess is adored by the young page Cherubino. Figaro has remained in the Count's service and now wants to marry Susanna, the Countess' maid. In the 18th century the nobles had the “ius primae noctis”, the right of the first night: the master was entitled to deflower the bride of a subject before the bridegroom. Count Almaviva wants to show himself to be enlightened around 1780 and abolishes this right on his possessions. But in view of the pretty Susanna, he regrets his progressiveness. Because now he can no longer insist on his rights, he has to use seduction and cunning, to get Susanna in his clutches. But Figaro and Susanna maintain their new erotic autonomy as a married couple, they successfully parry cunning with counter-cunning and the count finds an equal opponent in his servant.

English

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